Toward Post-Qualitative Research: Social Theatre on Maidan
The paper focuses on the problem of relevance of a post-qualitative approach in sociological research. The post-qualitative approach implies a freer format for data analysis and presen tation than it is required in qualitative stud ies. Actually, various types of case stud ies move to wards post-qua...
Збережено в:
| Дата: | 2016 |
|---|---|
| Автори: | , |
| Формат: | Стаття |
| Мова: | English |
| Опубліковано: |
Iнститут соціології НАН України
2016
|
| Назва видання: | Социология: теория, методы, маркетинг |
| Онлайн доступ: | http://dspace.nbuv.gov.ua/handle/123456789/181989 |
| Теги: |
Додати тег
Немає тегів, Будьте першим, хто поставить тег для цього запису!
|
| Назва журналу: | Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| Цитувати: | Toward Post-Qualitative Research: Social Theatre on Maidan / N. Kostenko, K. Tiahlo // Социология: теория, методы, маркетинг. — 2016. — № 3. — С. 156-170. — англ. |
Репозитарії
Digital Library of Periodicals of National Academy of Sciences of Ukraine| id |
irk-123456789-181989 |
|---|---|
| record_format |
dspace |
| spelling |
irk-123456789-1819892021-12-09T01:26:20Z Toward Post-Qualitative Research: Social Theatre on Maidan Kostenko, N. Tiahlo, K. The paper focuses on the problem of relevance of a post-qualitative approach in sociological research. The post-qualitative approach implies a freer format for data analysis and presen tation than it is required in qualitative stud ies. Actually, various types of case stud ies move to wards post-qual i ta tive in quiry in or der to save unique,vivid vi sual and ver bal ev i dence gath ered dur ing a so cial event and to make the obtained evidence useful for sociological knowledge. However, this problem needs further methodological discussion. 2016 Article Toward Post-Qualitative Research: Social Theatre on Maidan / N. Kostenko, K. Tiahlo // Социология: теория, методы, маркетинг. — 2016. — № 3. — С. 156-170. — англ. 1563-4426 http://dspace.nbuv.gov.ua/handle/123456789/181989 316.73 en Социология: теория, методы, маркетинг Iнститут соціології НАН України |
| institution |
Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| collection |
DSpace DC |
| language |
English |
| description |
The paper focuses on the problem of relevance of a post-qualitative approach in sociological research. The post-qualitative approach implies a freer format for data analysis and presen tation than it is required in qualitative stud ies. Actually, various types of case stud ies move to wards post-qual i ta tive in quiry in or der to save unique,vivid vi sual and ver bal ev i dence gath ered dur ing a so cial event and to make the obtained evidence useful for sociological knowledge. However, this problem needs further methodological discussion. |
| format |
Article |
| author |
Kostenko, N. Tiahlo, K. |
| spellingShingle |
Kostenko, N. Tiahlo, K. Toward Post-Qualitative Research: Social Theatre on Maidan Социология: теория, методы, маркетинг |
| author_facet |
Kostenko, N. Tiahlo, K. |
| author_sort |
Kostenko, N. |
| title |
Toward Post-Qualitative Research: Social Theatre on Maidan |
| title_short |
Toward Post-Qualitative Research: Social Theatre on Maidan |
| title_full |
Toward Post-Qualitative Research: Social Theatre on Maidan |
| title_fullStr |
Toward Post-Qualitative Research: Social Theatre on Maidan |
| title_full_unstemmed |
Toward Post-Qualitative Research: Social Theatre on Maidan |
| title_sort |
toward post-qualitative research: social theatre on maidan |
| publisher |
Iнститут соціології НАН України |
| publishDate |
2016 |
| url |
http://dspace.nbuv.gov.ua/handle/123456789/181989 |
| citation_txt |
Toward Post-Qualitative Research: Social Theatre on Maidan / N. Kostenko, K. Tiahlo // Социология: теория, методы, маркетинг. — 2016. — № 3. — С. 156-170. — англ. |
| series |
Социология: теория, методы, маркетинг |
| work_keys_str_mv |
AT kostenkon towardpostqualitativeresearchsocialtheatreonmaidan AT tiahlok towardpostqualitativeresearchsocialtheatreonmaidan |
| first_indexed |
2025-07-15T23:54:49Z |
| last_indexed |
2025-07-15T23:54:49Z |
| _version_ |
1837759143201472512 |
| fulltext |
Natalia Kostenko, Kateryna Tiahlo
Toward Post-Qualitative Research: Social Theatre on Maidan
NATALIA KOSTENKO,UDC 316.73
Doc tor of Sci ences in So ci ol ogy, Head of the De -
part ment of the So ci ol ogy of Cul ture and Mass
Com mu ni ca tion, In sti tute of So ci ol ogy of the NAS
of Ukraine
KATERYNA TIAHLO,
PhD in So ci ol ogy, Re search Fel low of the De part -
ment of the So ci ol ogy of Cul ture and Mass Com -
mu ni ca tion, In sti tute of So ci ol ogy of the NAS of
Ukraine
Toward Post-Qualitative Research:
Social Theatre on Maidan
Ab stract
The pa per fo cuses on the prob lem of rel e vance of a “post-qual i ta tive” ap proach in so -
cio log i cal re search. The post-qual i ta tive ap proach im plies a freer for mat for data
anal y sis and pre sen ta tion than it is re quired in qual i ta tive stud ies. Ac tu ally, var i ous
types of case stud ies move to wards post-qual i ta tive in quiry in or der to save unique,
vivid vi sual and ver bal ev i dence gath ered dur ing a so cial event and to make the ob -
tained ev i dence use ful for so cio log i cal knowl edge. How ever, this prob lem needs fur -
ther meth od olog i cal dis cus sion. The au thors pay spe cial at ten tion to a so cial Fo rum
Thea tre, which ap peared dur ing Maidan pro tests in the win ter of 2013/2014 when
Ukraine was ex pe ri enc ing sys temic tur bu lence and a state of “emer gency”. The Fo rum
Thea tre served as an il lus tra tion of how an in di vid ual’s civic con scious ness was be ing
formed through their self-rev e la tion as par tic i pants of the the at ri cal ac tion. The rep re -
sen ta tion is based on a meth od ol ogy of the “Thea tre of the Op pressed” de vel oped by
Augusto Boal. The con tent of the at ri cal per for mances is ana lysed in or der to re con -
struct the main di lem mas re lated to value and mean ing as com mu ni ca tion top ics for
the at ri cal plays and dis cus sions (e.g., per sonal re spon si bil ity vs. pa ter nal ism, love vs.
hate); be sides, to test the range of vari abil ity for so cial and cul tural iden ti ties. The
case study con firms that in ter ac tive the at ri cal tech niques are ef fec tive since they
teach to un der stand the Other’s problems, develop a culture of dialogue, help a person
reflexively enter into social space and produce new collectivities that are ready for
social changes.
156 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Keywords: a state of “emer gency” in the so ci ety, “post-qual i ta tive” ap proach, Boal’s
thea tre meth od ol ogy, in ter ac tive the at ri cal tech niques, de vel op ment of a cul ture of di -
a logue, new col lec tivi ties ready for so cial changes
A Society in the State of “Emergency”
Due to Euromaidan (also known as the “Rev o lu tion of Dig nity”), Cri mean
an nex ation and sub se quent armed con flict in Donbas, Ukrai nian so ci ety sud -
denly found it self in a state of “emer gency”, which is in creas ingly be ing dis cussed
in con nec tion with to day’s fi nan cial, eco nomic, po lit i cal and cul tural cri ses
[Žižek, 2010; Adey, An der son, Gra ham, 2015; Kostenko, 2015]. Sys temic tur bu -
lence, po lit i cal in sta bil ity, eco nomic down turn, which is likely to be long-last ing,
and at mo sphere of “tem po ral ity” re lated to what is hap pen ing now are the main
dis tin guish ing fea tures of the pres ent-day Ukraine. Tan gi ble vi bra tions of com -
mon and pri vate ex is tence do not al low or di nary cit i zens to trust any guar an tees
(no mat ter if they are in sti tu tional or per sonal) about how long the state of
“emer gency” will last. There fore, a cul ture of “emer gency” is be ing trans mit ted to
peo ple’s mode of life, as well as into their in tu ition, in ten tions and ac tions.
The re al ity of “emer gency” can un doubt edly be in scribed in spa tial and tem -
po ral co or di nates of to day’s cul ture, which are mul ti plic ity and si mul ta ne ity. But
it also pos sesses a set of spe cial on to log i cal char ac ter is tics, thus ap par ently vi o -
lat ing the es tab lished or der of in ter ac tion be tween the global and the lo cal in fa -
vour of the lat ter and putt ing a pic ture of the world taken “here and now” at the
cen tre. Geo graphic bound aries have been dis torted; some ter ri to ries have un ex -
pect edly be come in ac ces si ble while other coun tries and cul tures are be com ing
closer. The space for mass me dia’s ac cess is now de formed as a re sult of “in for ma -
tion wars”; cul tural con sump tion in most so cial groups is de creas ing be cause of
strait ened fi nan cial cir cum stances. As re gards a tem po ral di men sion, there is ei -
ther “pul sat ing” apologetics or dis credit of long and short his tor i cal pe ri ods as a
stake in legal i sa tion of the pres ent, the near and far fu ture. How ever, an in di vid -
ual’s in ter nal time, our “deep-seated self”, as Henri Bergson called it [Bergson,
2001], is of ten strik ingly dif fer ent from both as tro nom i cal clocks and cul tural or
po lit i cal ones started ac cord ing to var i ous ver sions. De spite the fact that these
cir cum stances may chal lenge an ex is ten tial and phys i cal thresh old of sur vival,
peo ple get new op por tu ni ties to gain the ex pe ri ence of sol i dar ity and for ti tude.
They also hope that there will be pos i tive changes in so ci ety, in clud ing those tak -
ing place through cul tural par tic i pa tion by us ing open emancipatory resources.
An Innovative Theatrical Perspective
It is a well-known fact that ar tis tic and cul tural phe nom ena ef fec tively ac -
com pany the pres ent-day forms of civil pro test and in spire them, con trib ut ing to
jus ti fi ca tion of val ues and ide als and cre at ing an at mo sphere of ro man ti cism
around un com mon events. These phe nom ena urge to re cog nise self-iden tity and
iden tity of oth ers, re duce psy cho log i cal ten sion, arouse en thu si asm and pro duce
aes thetic ca thar sis. Both in the cap i tal of Ukraine and other cit ies, Maidan’s cul -
tural ef fects evoked ar tis tic cre ativ ity and in creased cul tural and sym bolic cap i -
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 157
Toward Post-Qualitative Research: Social Theatre on Maidan
tal com mon to the par tic i pants and sympathisers. Suf fice it to re call that the na -
tional an them of Ukraine topped the list of the most pop u lar mel o dies in 2014,
which united spon ta ne ously gath er ing peo ple of dif fer ent ages and sta tuses. It is
also worth men tion ing that lots of fences around pub lic gar dens and along high -
ways were painted yel low and blue, which are the colours of the Ukrai nian flag.
Maidan will al ways be as so ci ated with a me di eval cat a pult (al though it could
hardly be used for real self-de fence) and the night-time chime of St. Mi chael’s
Ca the dral, which called on Kyivites to gather in the city cen tre shortly be fore the
pro test ers were vi o lently dis persed. And what about a pi ano on Hrushevs’kyi
Street, which both un known per form ers and stars like a pop-singer Ruslana
played un der tyre smoke, or an un for get ta ble con cert of Sviatoslav Vakarchuk
and his team at the eve ning cold square il lu mi nated with thou sands of mo bile
phone lights? The ur ban en vi ron ment shel tered pro test ers, chang ing in ac cor -
dance with util ity and aes thet ics. Live stream ing cam eras and other gad gets
worked day and night not only to in form ad lo cum the whole world about what
was hap pen ing but also to make shortly af ter an au then tic and com pre hen sive
doc u men tary. At last, as Ju dith But ler once de scribed pub lic pro tests of the last
de cade, “Rev o lu tion hap pened be cause ev ery one re fused to go home, cleav ing to
the pave ment, act ing in con cert” [But ler, 2011].
That was the time when the “Thea tre of the Op pressed” ap peared in Ukraine.
The Thea tre’s first trainings and per for mances were held in the Ukrai nian House
(Ukrains’kyi Dim)1 in Feb ru ary 2014 [Tiahlo, 2015] (see Photo 1). Euromaidan,
its sup port and de fence, con tra dic tions among par tic i pants (in clud ing the most
ac tive ones), as well as opin ions of their op po nents were the main top ics for dis -
cus sions and per for mances. The Thea tre came into be ing just days be fore over
100 pro test ers were killed and wounded by snip ers on Kyiv’s Instytuts’ka Street
on Feb ru ary 18–20. It is hard to over es ti mate the role of so cially ac tive art and ar -
tis tic re sis tance against vi o lence af ter those tragic events. Peace ful but not in dif -
fer ent, the “Thea tre of the Op pressed” turned out to be “a re hearsal for reality”
[Declaration of Principles, 2015].
In other words, peo ple needed to learn how to speak of con flicts and con tra -
dic tions, how to reach con sen sus and op pose vi o lence with out blood shed, and, fi -
nally, how to search for a pro jec tion of per sonal and com mon fu ture. More over,
they des per ately needed to de velop their in tu ition in or der to be able to act cor -
rectly for the good of oth ers, es pe cially af ter the Maidan Mas sa cre where al most
100 pro test ers (known as Heav enly Hun dred Heroes) were killed. That was the
time when vol un tary com mu ni ties ac tively func tioned all over Ukraine and di -
rect so cial ac tions pre vailed. The so ci ety was go ing to be split into “friends” and
“foes” and be come a thing of black and white. Con duct ing di a logue train ing ses -
sions for peo ple who were vi o lently, ran domly or vol un tarily de prived of ba sic
rights, in clud ing the right to life, was rather a dif fi cult task, es pe cially in the whirl
of po lit i cal events problematising the ac tions of new au thor i ties and dur ing the
armed con flict in east ern Ukraine. The train ing ses sions were se man ti cally
158 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
1 The Ukrainian House is a conference and exhibition centre located in the centre of Kyiv. It
was used by protesters during Maidan events.
loaded with prob lems that seemed to have nei ther im me di ate nor far-reach ing so -
lu tions, which was typ i cal of a so ci ety in the state of “emer gency”.
Photo 1. The International Theatre of the Oppressed Organisation (ITO). Kyiv,
February 16, 2014. Inscription on the pediment of the building: “Combining True Values”.
How ever, the en ergy of civil re sis tance in 2014 con trib uted to the for ma tion
of a num ber of ar tis tic phe nom ena (some of them con tinue be ing formed). These
phe nom ena are be yond the scope of “rev o lu tion ary art” and con sti tute the ba sis
for sub stan tial trans for ma tions of cit i zens’ cul tural par tic i pa tion, when en gage -
ment in cul tural pro cesses im plies di rect (for both body and mind) par tic i pa tion
in cul tural events and cre ation of ar tis tic phe nom ena, rather than con sump tion of
cul tural prod ucts. Both or di nary peo ple and com mu ni ties all over the world are
in creas ingly tend ing to con struct cul tural phe nom ena. In Ukraine, there are two
fac tors fa vour ing this pro cess: (1) grow ing need for cul tural par tic i pa tion, es pe -
cially among young peo ple, “mid dle class” and in tel lec tu als; (2) lack of fi nance,
which im pedes ac cess to tra di tional cul tural forms.
The in creas ing role of com mu ni ties and grow ing en gage ment of or di nary cit -
i zens in the pub lic sphere have re sulted in the emer gence of new for mats for in ter -
ac tion be tween cul ture and so ci ety, like in de pend ent pub lic me dia which are not
con trolled by gov ern ment, cit i zen jour nal ism which came into be ing due to so cial
net work ing ser vices, or ed u ca tional pro jects (non-com mer cial and non-gov ern -
men tal pub lic ini tia tives, aimed at dis sem i nat ing in for ma tion and mak ing an ac -
ces si ble cul tural prod uct of high qual ity). Al ter na tive for mats for the at ri cal arts
also emerged due to a new wave of civic en thu si asm. As a rule, thea tre, cin ema
(though to a lesser ex tent) and, later, fic tion are al ways first to re act to so cial
changes that have not yet been ex plained by so cial sci ences.
The “Thea tre of the Op pressed” is a widely used the at ri cal prac tice for dis -
cuss ing the cur rent so cial con tra dic tions by per form ing dif fer ent roles; for ex am -
ple, mod el ling sit u a tions like “how can we live to gether” with out in ten tion ally
op press ing other peo ple and hu mil i at ing our selves, when “ev ery one is a leader at
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 159
Toward Post-Qualitative Research: Social Theatre on Maidan
least of them selves”. How ever, it has not been fa mil iar to Ukrai nian so ci ety so far.
De spite the fact that sim i lar the at ri cal and performative tech niques had pre vi -
ously been prac ticed as a part of ed u ca tional and psy cho log i cal train ing pro -
grammes, they have not be come pop u lar. In Jan u ary 2014, three-day the at ri cal
work shops were held si mul ta neously in Kyiv, Chernihiv, L’viv, Chernivtsi and
Donets’k. Fa cil i ta tors from Bel gium, Ger many, It aly and other coun tries, who
had been in vited to par tic i pate in the work shops, ex pressed sol i dar ity with
Ukrai ni ans [Joker Tsu nami in Ukraine, 2015]. They used a tech nique de vel oped
by a Bra zil ian thea tre di rec tor Augusto Boal in the 1960–1970s and based on his
un der stand ing of the so cial thea tre as a plat form, where in di vid ual and col lec tive
ex pec ta tions of so cial changes are gen er ated with the help of psy cho log i cal and
ar tis tic tech niques [Boal, 1993]. The fi nal goal of the work shops was to rep re sent
Euromaidan events from the view point of par tic i pants in a fo rum per for mance.
An other goal was to es tab lish au ton o mous cen tres of the “Thea tre of the Op -
pressed” across Ukraine, in or der to meet new so cial chal lenges. Both tasks have
been ac com plished: in 2015, a non-profit or gani sa tion called the “Thea tre for Di -
a logue” was founded. The or gani sa tion stages per for mances and con ducts train -
ing ses sions in al most all of Ukraine’s cit ies where so cial de mand exists.
The flow of in ter nally dis placed per sons from Cri mea and Donbas, per sonal
trag e dies ex pe ri enced by these peo ple and grow ing so cial con tra dic tions brought
about new top ics for the at ri cal di a logues like prob lems of IDPs, peo ple’s dis tanc -
ing from each other, fam ily con flicts and help less ness of a per son fac ing so cial
chal lenges. The “Thea tre for Di a logue” deals with prob lems like these with the
help of per for mances cre ated and staged by Ukrai nian jok ers1, who have done a
train ing course. Ed u ca tional work shops (with the use of the at ri cal tech niques)
for vol un teers, trade un ion ac tiv ists, or gani sa tions de fend ing women’s rights and
LGBT rights have also en joyed pop u lar ity. By now, the “Thea tre for Di a logue”
has con sid er ably wid ened the scope of its ac tiv i ties [Theatre for Dialogue, 2015].
Methodological Assumptions for Analysis of Theatrical Techniques
Ac cord ing to the def i ni tion given by ide olo gists of the “Thea tre of the Op -
pressed” (for eign ac tiv ists-jok ers, who came to Ukraine to teach tech niques used
in the Fo rum Thea tre; all of them had worked in var i ous coun tries ex pe ri enc ing
so cial or po lit i cal con flicts), the T.O. model is nei ther a ther a peu tic method for
solv ing a per son’s socio-psy cho log i cal prob lems nor a so cial ac tiv ism tech nique.
It is not a purely aes thetic phe nom e non ei ther, though this com po nent is es pe -
cially sig nif i cant. The main goal of the Thea tre is to pre pare and pro mote so cial
trans for ma tions within cer tain com mu ni ties and later in so ci ety over all. Hence,
we are es pe cially in ter ested in how rel e vant may be this unique, “live” ma te rial
(train ing ses sions, spec ta cles, dis cus sions held in the frame work of the Fo rum
Thea tre) to us ing in so cio log i cal re search and so cial cog ni tion.
The at ri cal met a phors have ob tained a foot hold in so cio log i cal dis course due
to role the ory in sym bolic interactionism, Erving Goffman’s “dramaturgical ver -
sion” for the use of modes and tech niques of sym bolic com mu ni ca tion be tween
160 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
1 In Boal’s terminology, joker is an interactive actor of facilitator. In most cases, but not all,
joker would be a drama workshop leader.
peo ple in ev ery day sit u a tions [Goffman, 1959]. Later on, af ter youth pro tests in
France (May 1968), pub lic at ten tion was fo cused on a crit i cal es say “The So ci ety
of the Spec ta cle” writ ten by Guy Debord. The “spec ta cle” was un der stood as a
way of es tab lish ing and so lid i fy ing power re la tions, dom i nance and sta tus hi er ar -
chies in the con sumer so ci ety, where truth and lie are interconvertible [Debord,
1994]. In the con text of postmodernism, play as a the at ri cal con struc tion of ev -
ery day per sonal and so cial life by means of feigned char ac ters be ing in a com bi na -
torial re la tion ship with re al ity, is one of the ba sic con cepts. What ever terms are
used by a re searcher to de scribe the play, bear ing in mind its spon ta ne ous and
pre med i tated as pects, it is con stantly pres ent in to day’s so cio log i cal theo ri sa tion
as well. Sus pi cious ness to wards hu man mo tives, ver bal acts, be hav iour and ac -
tions along with non hu man ones has al ways been pe cu liar to so ci ol ogy in the
most dif fer ent par a digms and con cep tions, mak ing us look “be hind the scenes” of
vis i ble, ob vi ous so cial ex is tence, com pre hend its na ture hav ing mul ti ple mean -
ings and senses, spot ma nip u la tion of “au thor i ties” and peo ple’s tac tics for “get -
ting around the rules”, as Michel de Certeau noted [de Certeau, 1984], iden tify
la tent mech a nisms of so cial or gani sa tion, etc. Be sides, we should try to do all this
in an un prej u diced manner.
Who would not agree with Goffman’s as sump tion that “when an in di vid ual
ap pears be fore oth ers he will have many mo tives for try ing to con trol the im pres -
sion they re ceive of the sit u a tion” [Goffman, 1959: p. 15]? Both the in di vid ual
and their part ners fol low this rule, with more or less suc cess, while in ter act ing
with each other. There fore, the “fun da men tal asym me try of com mu ni ca tion”,
which is pres ent in ev ery day in ter ac tion, may hardly be elim i nated. A “work ing
con sen sus” based on a short-term agree ment (spo ken or not spo ken) to de fine the
sit u a tion seems to be quite pos si ble. Es tab lish ing a di a logue is even more prob -
lem atic; how ever, daily life has hardly any thing in com mon with ideal mod els of
di a logues, which, for ex am ple, im ply a “fu sion of ho ri zons” of the in ter preter and
the in ter preted [Gadamer, 1989], or in clude sin cer ity in “va lid ity claims” dur ing
com mu ni ca tive ac tion [Habermas, 1979].
In this re gard, dramaturgy of real life with all of its con ven tion ali ties, am bi gu -
ities and ma nip u la tive ac tions of so cial ac tors is far more com pli cated than sce nic
per for mances of the Fo rum Thea tre. The lat ter, nev er the less, pro vides a wide range
of prac tices (though they are quite typ i cal) for in volv ing, with out any com pul sion or
ed i fi ca tion, par tic i pants and spec ta tors in learn ing cul tural tech niques to reach
“work ing con sen suses”. From a socio-cul tural view point this kind of the at ri cal train -
ing may be re garded as an in oc u la tion of cul tural tech nique for be ing at ten tive to the
Other. This tech nique, if we try to para phrase Jacques Derrida, would call into ques -
tion the ex ist ing idea of com plete au di bil ity of some one else’s speech [Derrida, 1967].
It is dif fi cult to con cep tual ise this cul tural tech nique un am big u ously and un con di -
tion ally in both ev ery day con scious ness and sci en tific dis course. How ever, the ques -
tion: “Which co mes first: cul tural tech niques or con cepts?” is be ing ac tively dis -
cussed, ow ing to dif fer ent un der stand ings and in ter pre ta tions of to day’s me dia
technologies and me dia com pe tence [Win throp- Young, 2013]; thus, the con cept of
tech nique for be ing attentive to the Other is re main ing to be gen er ated.
An other meth od olog i cal as sump tion in the anal y sis of the at ri cal tech niques
con cerns the rel e vance of the con cept of performativity, which is pri mar ily as so -
ci ated with Ju dith But ler’s performative the ory of gen der. This the ory ar gues
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 161
Toward Post-Qualitative Research: Social Theatre on Maidan
that gen der iden tity is con structed through re peated ac tions, but it is nei ther
pre de ter mined nor in vari able [But ler, 1999]. It would also be ad vis able to men -
tion John L. Aus tin, who in tro duced the term “performative” and re ferred it to
performative ut ter ances. The lat ter are both state ment and ac tion since they in -
cite ac tion [Aus tin, 1975]; they are of ten used for im press ing au di ence and im -
prov ing pub lic im ages. So, it is no sur prise that performative re search (which is
an en tirely new par a digm) is prac tice-led, starts out with real facts and states;
and it is con sid ered as “an al ter na tive to the qual i ta tive and quan ti ta tive par a -
digms by in sist ing on dif fer ent ap proaches to de sign ing, con duct ing and re port -
ing re search” [Haseman, 2006]. It seems quite rea son able to class re search strat e -
gies like these with post-qual i ta tive stud ies, as they im ply a freer for mat for data
anal y sis and pre sen ta tion [St. Pi erre, 2011; Sommerfeldt, Caine & Molzahn,
2014]; but this ap proach re quires spe cial dis cus sion.
So ci ol ogy, even if it sticks to qual i ta tive re search par a digm, needs a guar an -
tee of va lid ity and re li abil ity of re search re sults. In any case, it is still rec om -
mended not to ne glect tri an gu la tion, i. e. to com pare the data ob tained through a
qual i ta tive study with data of other types, in clud ing quan ti ta tive [Denzin, 1970].
It is also im por tant to avoid “ab so lut ism traps”, as Da vid Silverman iden ti fied
“tour ism” and “ro man ti cism” with ref er ence to qual i ta tive meth od ol ogy. The for -
mer means a su per fi cial point of view, when only new or ex otic things can be no -
ticed; the lat ter in di cates that a re searcher gets emo tion ally at tached to those
who are be ing stud ied [Silverman, 1994: p. 4–6].
Be ing ana lysed, the Fo rum Thea tre’s spec ta cles can be re garded as a case
study, ob ser va tion, or “pro jec tive fo cus group”. How ever, that is only an at tempt
to put an orig i nal method of qual i ta tive knowl edge in the same cat e gory as other
avail able ones, in or der to re veal dis tinc tive fea tures of ar tis tic imag i na tion re -
lated to moral and so cial val ues, a phe nom e non which was gen er ated by the
“Thea tre of the Op pressed” dur ing Euromaidan.
Value Dilemmas Addressed
in the Forum Theatre’s Spectacles about Maidan
Top ics for plays in the Fo rum Thea tre were not aimed merely at rep re sent ing
po lit i cal sphere. They de picted lives of or di nary cit i zens, mainly young peo ple,
who had found them selves in a state of “emer gency”, get ting in volved in Maidan
events. Fam ily, busi ness, lei sure, re la tion ships with close and dis tance friends,
real life sit u a tions any how re lated to so cial re flec tion and civil re ac tion, “here and
now” ac tions, im ages of the near and dis tant fu ture, etc. were brought to light.
Footages of the en tire cy cle “Joker Tsu nami” con sist ing of 11 per for mances
staged in ma jor cit ies of Ukraine re veal some rea sons for jus ti fy ing con flicts,
which, hav ing bro ken out, made the so ci ety even more dis in te grated. The Fo rum
Thea tre’s ev i dence (nar ra tives, lan guage of ges tures, im ages, sym bols, sce nic de -
sign, etc.) not only il lus trates how peo ple per ceived what was hap pen ing (in a
con tra dic tory, un cer tain or un com pro mis ing way) and sought to mend so cial and
psy cho log i cal rup tures; it also pro vides room for ac cess ing change ability of vec -
tors de scrib ing sense-based intentionality of peo ple in volved in a dra matic sit u a -
tion (for ex am ple, Euromaidan where the “Thea tre of the Op pressed” was func -
tion ing).
162 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
Imperatives
Spec ta cles and dis cus sions tak ing place in the Thea tre rep re sented a wide
range of mean ings, senses and val ues; how ever, only a few value im pli ca tions
could prove to be “the most im por tant”, un am big u ous ones, which, with mi nor
ex cep tions, evoked nei ther im me di ate ref u ta tions nor coun ter-ar gu ments (see
Ta ble). These im pli ca tions pri mar ily in cluded value pri or i ties con cern ing
chang es in the so ci ety and con cur rently main te nance of sta tus quo, or the or -
der which was be fore Maidan, as well as val ues of hu man ism and civic iden tity.
In gen eral, value seg ments ar tic u lated by the Fo rum Thea tre’s par tic i pants are
sim i lar to those ob tained through fo cus group dis cus sions held on Maidan at the
same time. The fo cus groups used the Schwarts Value In ven tory iden ti fy ing 10
motivationally dis tinct value types [Schwartz, 2006]. Euromaidan par tic i pants
shared the val ues of be nev o lence, in de pend ence and so cial jus tice while, ac cord ing
to the data of the Eu ro pean So cial Sur vey where the same tool was used, Ukrai ni -
ans tended to hold the val ues of tra di tion al ism, con for mity and achieve ments
[Naumova, 2015: p. 321–328].
Table
Value Priorities Addressed in Spectacles about Maidan
(Ukraine, February 2014)
Changes Status quo
maintenance Humanism Civic identity
Protest, revolution
Civic position
Social activity
Stability and order
Labour discipline
Love
Personality
Social and ethical values
Memory
Patriotism
Consolidation
How ever, these sets of moral val ues and mo tives can con trib ute to sit u a tional
ten sion and rep re sent in trin sic con flicts. For ex am ple, the val ues of changes cor -
re spond to so cial jus tice, pa tri o tism, eth i cal val ues, strug gle for civil rights, free -
dom, per sonal choice and cre ation of a better fu ture. At the same time, they are
strongly op posed to the val ues of sta bil ity de stroyed by Maidan, which re sulted
in “chaos”, split of Ukrai nian so ci ety, peo ple’s dis tanc ing from each other, de te ri -
o ra tion of la bour dis ci pline and in fringe ment of some per sonal rights (when a
per son can not freely ex press their own opin ion or do what they love), as it is dem -
on strated by ac tors’ di a logues:
“I have come to Maidan to build a new Ukraine!”
“You had better go away and work! We need sta bil ity!” (Kyiv, “The Birth day”)1
“Glory to the heroes! Ukraine is above all!”
“This move ment on Maidan is pure na tion al ism, I don’t sup port it” (Kyiv, “The
Three Pieces about Maidan”).
Hu man ism and love for peo ple stand for peace ful pro tests, mu tual aid, com -
pas sion, tol er ance, pa tience, faith and world har mony. But these val ues may be
called into ques tion if they im pede so cial ac tiv ity and readi ness to act de ci sively,
which “cor rodes” civic po si tion:
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 163
Toward Post-Qualitative Research: Social Theatre on Maidan
1 The title of the play and the city where it was staged.
Priest: “They are the same peo ple as us; a prayer is stron ger than an at tack”.
A ba la clava-clad young man: “We don’t need any prayer; it is time to act!”
(Kyiv, “What’s Next?”).
Civic po si tion and pa tri o tism is a self-ev i dent im per a tive both for Euro -
maidan ac tiv ists and sympathisers, which was clearly dem on strated by songs per -
formed on the stage of Maidan. Nev er the less, pa tri o tism man i fests it self in dif fer -
ent forms. For ex am ple, a young girl de clines her best friend’s of fer to leave for a
more pros per ous coun try be cause she can not imag ine leav ing her par ents, friends
and home land. Her de ci sion sounds performative, as if she is giv ing an oath to
her self:
“I will make my fate my self; this will be my own fate in my own coun try” (L’viv,
“The Mar ket of Fate”).
As a value, pa tri o tism can be op posed to “pa tri otic” dec la ra tions made by pol -
i ti cians or of fi cials. They are iron i cally rep re sented as those who are un able to set -
tle the con flict be cause each of them has their own in ter ests:
“Pa tri otic” rev e la tion of a pol i ti cian: “I was born on this land and, be ing a true
pol i ti cian, I will grow rich here”; at an auc tion: “45 mil lion [pop u la tion of
Ukraine, Ed. Note] go ing one, two, three, sold!” (Kyiv, “The Three Pieces
about Maidan”).
As a re sult, the im age of to day’s Ukraine pre sented to the au di ence dif fers
con sid er ably from an ideal im age (see Pho tos 2, 3). How ever, the dis cus sion held
right af ter the per for mance con cludes on an op ti mis tic note:
“De spite be ing torn apart by dif fer ent opin ions and ac tions, Ukraine keeps its
bal ance and, more over, speaks with con fi dence” (Olena, 29 years old).
Photo 2. The current image of Ukraine
(“The Three Pieces about Maidan”;
Kyiv, February 16, 2014)
Photo 3. An ideal image of Ukraine
(“The Three Pieces about Maidan”;
Kyiv, February 16, 2014)
The Val ues-Based “Cross of Re al ity”
The “Cross of Re al ity” is a met a phor coined by Eugen Rosenstock-Huessy,
who de vel oped an orig i nal ap proach to the idea of dialogic think ing. The met a -
phor sym bol ises crossed spa tial and tem po ral co or di nates of re al ity where both
an in di vid ual and hu man com mu ni ties are stay ing at the mo ment. The re al ity is
di vided into two di rec tions of time, “for ward” and “back ward”, and two di rec -
tions of space, “in ward” and out ward” [Rosenstock-Huessy, 1970: p. 52]. The
axes form ing a “cross of con flict” or “cross of ten sion” in spec ta cles about Maidan
164 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
may be in ter preted in terms of moral and so cial val ues: “pa ter nal ism — per sonal
re spon si bil ity” and “love — hate” (see Fig ure).
Figure. A space of tension represented in the Forum Theatre’s spectacles
(Ukraine, February 2014)
Pa ter nal ism is un der stood as a com plex of mo ti va tional di rec tives which take
the causes and con trol of a per son’s be hav iour “out wards” and stim u late cer tain
ex pec ta tions to wards ex ter nal sub jects and struc tures (like state, tra di tional or
non-tra di tional com mu ni ties, col leagues, fam ily cir cle, friends, strang ers or even
con cur rence of cir cum stances). For ex am ple, in a spec ta cle per formed in Do -
nets’k the sit u a tion of hir ing a poorly qual i fied em ployee by rec om men da tion of
an in flu en tial per son is re garded as nor mal, no one thinks that it is a kind of cor -
rup tion. An at ti tude like this is typ i cal of an in di vid ual with ex ter nal lo cus of con -
trol and low as pi ra tions. A con sid er able num ber of Ukrai ni ans, the el derly in par -
tic u lar, find it rather dif fi cult to as sume re spon si bil ity for their own life (per sonal,
so cial and pro fes sional) be cause of pa ter nal is tic in cli na tions taken root in their
mo ti va tional struc tures ever since the So viet pe riod. At that time, it was the pre -
rog a tive of the state to con trol and reg u late a per son’s be hav iour. As re gards
youth, so cially and pro fes sion ally ac tive mid dle-aged peo ple (though not a con -
sid er able part), they dis play quite dif fer ent at ti tudes, re cog nis ing the right to
per sonal choice and hu man dig nity. These kinds of at ti tudes were strik ingly
dem on strated dur ing Euromaidan events.
A per son who is go ing to vol un tarily take re spon si bil ity for their own life and
for oth ers should be not only aware of the sit u a tion but also ready to make a con -
sid er able ef fort of will. What helps them do it is mu tual sup port they need to feel:
“I would be a civil ac tiv ist
And de fend hu man rights,
If ev ery one else ex cept min is ters
Asked me to help peo ple go ing on strike.
I would pass from words to deeds,
Would for get all the ‘what ifs’.
If some one tore the clouds apart,
Showed us the road in the dark”.
(Kyiv, “What’s Next?”).
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 165
Toward Post-Qualitative Research: Social Theatre on Maidan
Paternalism
LoveHate
Personal resposibility
INWARD
BACKWARD FORWARD
OUTWARD
“Let’s take part in Maidan”.
“Well, can you un der stand where the truth is and where the lie is?” (Chernihiv,
“The Ukrai nian”).
“I am go ing to fight for my rights for the first time in my life. I used to think that I
was alone and could do noth ing. Now I am sure that to gether we will suc ceed”
(Kyiv, “What’s Next?”).
Con struc tive sol i dar ity is ac com pa nied by love. Hate, be ing the op po site of
love, is able to pro duce dif fer ent forms of neg a tive sol i dar ity in clud ing armed vi o -
lence. Hate is just as pow er ful as, if not more so, than love. Hate is de picted as a
move ment “back ward” within a tem po ral con tin uum (see Figure) since Ukraine
had not ex pe ri enced armed con flicts for more than 20-year pe riod of in de pend -
ence; there fore, events in the Cri mea and Donbas were ini tially seen to be un nat -
u ral and in com pre hen si ble. On stage at the Fo rum Thea tre, hate was rep re sented
as be ing weaker than love; al beit vi o lence is not ex cluded. Hate was not ar tic u -
lated in any spe cial man ner; more over, it avoided ver bali sa tion. The per form ers
tried to con vey hate by us ing spe cial in to na tion, ges tures, fa cial ex pres sions,
bodily mo tions (e.g., when they were act ing out scuf fles); in other words, by
purely the at ri cal tech niques. Judg ing from the au di ence’s re ac tion, these tech -
niques turned out to be ef fec tive (see Pho tos 4, 5).
Photo 4. Love (“Not Unkind Maidan”;
Kyiv, February 16, 2014)
Photo 5. Hate (“What’s Next?”;
Kyiv, February 16, 2014)
Photo 6. Confused identity (“The Birthday”;
Kyiv, February 16, 2014)
Photo 7. Consolidation (After the spectacle;
Donets’k, February 16, 2014)
166 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
The above-men tioned “cross of ten sion” ac tu ally su per im poses upon a spe -
cial at mo sphere cre ated dur ing the per for mance and de lin eates the space for an
iden tity, which, feel ing anx ious and con fused, can do noth ing but fidget. The
“cross” be gins to grow dim only when there are at tempts to over come the on go ing
con flict and start the di a logue (see Pho tos 6, 7).
Donets’k Precedent: Beyond the Stage
Lo cal con flicts rep re sented in the Fo rum Thea tre’s spec ta cles are usu ally
rather dra matic, but all of them are any how set tled — when both sides ei ther com -
pro mise or leave the area of con flict. For ex am ple, friends hav ing op po site view -
points on Maidan might go to a con cert or take part in an other en ter tain ing event
to stay away from pol i tics, at least for a while. Any way, life goes on. How ever, we
re mem ber that in real life con flicts were un likely to be re solved in a pos i tive way.
Po lit i cal dis agree ments pro foundly af fected in ter per sonal re la tion ships: friend -
ships ended, fam i lies broke up. The prob lem of re la tion ship be tween re al ity con -
structed and rep re sented on stage and real life it self was dis cussed a lot: for ex am -
ple, the ac tors of fered to move the stage to Kyiv’s Hrushevs’kyi Street (best
known for be ing the epi centre of pro tests), to more pre cisely in ter pret what was
hap pen ing around them.
When an ar tis tic event “col lides” with re al ity, the prob lem of di a logue be -
comes even more com pli cated. Once in Donetsk, dur ing the per for mance, a group
of peo ple rep re sent ing a po lit i cal youth or gani sa tion loyal to the pre vi ous au thor -
i ties gath ered out side the thea tre. They be haved ag gres sively and de manded
meet ing with the Thea tre’s rep re sen ta tives. For rea sons of se cu rity, both the per -
form ers and the spec ta tors de cided not to en ter into di a logue with them, as “the
di a logue should be started only with those who are ready for it”. The young peo -
ple were not al lowed into the thea tre be cause of be ing late and threat en ing to dis -
rupt the per for mance. But the Thea tre’s par tic i pants were not sure if they had
made the right de ci sion: “Well, that was so am big u ous. We were go ing to make a
thea tre for di a logue, but we re fuse to be gin the di a logue when it is pro posed. It is
clear that one of the par ties ma nip u lates at tempts to es tab lish a di a logue… We are
still ask ing our selves: if we had acted oth er wise could it have changed the course of
events, at least a lit tle bit? Would it be hap pen ing in Donets’k what is hap pen ing
now?” [Joker Tsu nami in Ukraine, 2015].
This is an il lus tra tion of how the thea tre has to go be yond the stage (in other
words, be yond the space of con ven tion al ity) and deal with re al ity of con flict. Be -
sides, the fol low ing is sues should be ad dressed: meth od olog i cal ba sis for the at ri -
cal tech niques of di a logue and how they can be used in dif fer ent en vi ron ments
(with dif fer ent de gree of so cial ten sion). The fol low ing fac tors make these tech -
niques suc cess ful: un der stand ing of what is go ing on, spe cial psy cho log i cal ap -
proaches, so cial and cul tural sen si tiv ity, wise and well-pon dered de ci sions of par -
tic i pants (how ever, some times bold de ci sions are wel comed). The role of joker
as sumes much greater im por tance as well.
Two Years Later
At pres ent, the “Thea tre for Di a logue” has a well-de vel oped sys tem for in ter -
ac tions (be tween both per sons and or gani sa tions) aimed at im prov ing ed u ca -
tional, so cial, psy cho log i cal and cre ative ac tiv ity. Nat u rally, not all of those who
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 167
Toward Post-Qualitative Research: Social Theatre on Maidan
par tic i pated in the Thea tre’s first per for mances in Feb ru ary 2014 are still en -
gaged in its pro jects. Con tin u ously be ing in a state of “emer gency”, many peo ple
have given up, con sciously or in tu itively, the idea and at tempts to con duct the at -
ri cal di a logues with the so ci ety; they ei ther have cho sen a more ef fi cient, more
“real” method of par tic i pa tion in so cial life or have been oc cu pied with their per -
sonal prob lems.
How ever, both the in ter views con ducted with some ac tors two years later
(Feb ru ary — March 2016) and the blogs of those who are en thu si as ti cally en -
gaged in this work even now in di cate that the ac tors’ ex pe ri ence of par tic i pat ing
in the Thea tre’s per for mances, which held on the eve of the power’s armed at tack
at Maidan pro test ers, left a mark on them. Most ac tors keep viv idly in mind how
they felt about them selves while act ing out their roles; they were deeply im -
pressed by civic spirit and so cial use ful ness of the Thea tre, as well as by spe cial
sym bolic re al ity which a thea tre can gen er ally pro duce. Some of them con fessed
to com ing out on stage for the first time in their life; there fore, they felt in spired
by the op por tu nity to per form dif fer ent roles be fore the au di ence. The ac tors, as
they noted, gained “golden ex pe ri ence” of dis play ing their civic po si tion; more -
over, they greatly en joyed act ing. But they gave dif fer ent an swers to the ques -
tion: “How would you play your roles to day, two years af ter Maidan?” Some of
those ap pear ing as Maidan op po nents would strongly re fuse to play these char ac -
ters be cause of hav ing con trary po lit i cal views. How ever, the oth ers would agree
to play these roles again since they sym bol ised dis trust in gov ern ment (in fact,
this is the same thing the Ukrai ni ans are wit ness ing to day) and con fi dence in
peo ple’s abil ity to act co he sively. The idea of re vis ing the roles in to day’s po lit i cal
and so cial con text is seen as ex pe di ent too. In ad di tion, the ac tors ap pre ci ated the
sig nif i cance of in ter ac tive the at ri cal tech niques as they “high light the prob lems
wor ry ing dif fer ent classes of the so ci ety and stim u late re flec tion” (Oleksandr, 31
years old).
Be long ing to a com mu nity of con ge nial souls, feel ing the au then tic ity of par -
tic i pa tion in col lec tive ac tions to im prove the life of the so ci ety was also im por -
tant to the Fo rum Thea tre’s ac tors. A Ukrai nian joker Oksana Potapova said that
she had real ised “a new def i ni tion of ac tiv ism” af ter first per for mances: “I un der -
stood that I could do some thing im por tant to me and I could do it to gether with other
peo ple. This is ac tiv ism too. Ac tiv ism does not al ways mean peo ple stand ing with
plac ards in the street…” [Joker Tsu nami in Ukraine, 2015]. The joker con tin ues to
work for the Thea tre in sev eral towns of east ern Ukraine (in clud ing Donbas).
She tries in ter ac tive the at ri cal tech niques for peo ple with op pos ing po lit i cal
view points to help them avoid di rect con flicts and find com mon ground to solve
their so cial prob lems: “I hope that [these tech niques] will in spire the peo ple to cre ate
the life of their city as they want it” [Potapova, 2015].
Conclusions
It is prob a bly too early to make any cat e gor i cal judg ments, clas si fi ca tions,
gen er ali sa tions or def i ni tions con cern ing the so cial ex plo sion which oc curred in
the win ter of 2013/2014 and sub se quent dra matic events. Timeline and de tails of
these events, as well as acts and deeds of their par tic i pants seem too sig nif i cant so
far; there fore, it is dif fi cult to sep a rate a re searcher’s po si tion from their emo tions
168 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
and per sonal ex pe ri ence re lated to these events. All what hap pened in Ukrai nian
so ci ety two years ago and con tin ues to hap pen these days is re main ing to be com -
pre hended and re-com pre hended. Yet, some con clu sions re gard ing Ukrai nian
“Thea tre of the Op pressed” and the so ci ol o gist’s role dur ing so cial up heav als can
be drawn.
1. Through the so cio log i cal op tics the at ri cal in ter ac tive meth ods can be seen
as teach ing tech niques for “be ing at ten tive to the Other”, de vel op ing a “cul ture of
di a logue”, “re flex ively en ter ing into so cial space” and pro duc ing new col lec tivi -
ties; that is what is de fi cient in both ev ery day and civil com mu ni ca tion in to day’s
Ukraine.
2. The Fo rum Thea tre’s ma te rial can serve as quite in for ma tive and non-triv -
ial ev i dence ex plain ing so cial life of or di nary peo ple and com mu ni ties and pro -
vid ing a more pre cise un der stand ing of cul tural seg men ta tion and so cial dis in te -
gra tion of the so ci ety. This ma te rial may be use ful in ex pli cat ing sources of con -
flicts (with ref er ence to senses and val ues) since it al lows test ing the range of
vari abil ity for so cial and cul tural iden ti ties and dem on strat ing how vul ner a ble or
re sis tant to ex ter nal in flu ences they are.
3. At pres ent, re search ers are in creas ingly tend ing to use post-qual i ta tive ap -
proaches due to a freer for mat for se man tic de scrip tion of ver bal and au dio-vi sual
in for ma tion dy nam i cally cir cu lat ing in me dia. These ap proaches can be re garded
as new and prom is ing tech niques for qual i ta tive anal y sis. But this is sue needs a
thor ough meth od olog i cal dis cus sion.
References
Adey, P., An der son, B., Gra ham, S. (2015). In tro duc tion: Gov ern ing Emer gen cies: Be -
yond Exceptionality. The ory, Cul ture & So ci ety, 32(2), 3–17.
Aus tin, J. L. (1975). How to Do Things with Words: Sec ond Edi tion (The Wil liam James
Lec tures). Ox ford: Ox ford Uni ver sity Press.
Bergson, H. (2001). Time and Free Will: An Es say on the Im me di ate Data of Con scious -
ness. Mineola, N.Y: Do ver Pub li ca tions.
Boal, A. (1993). Thea tre of the Op pressed. New York: Thea tre Com mu ni ca tions Group.
But ler, J. (1990). Gen der Trou ble: Fem i nism and the Sub ver sion of Iden tity. New York:
Routledge.
But ler, J. (2011). Bod ies in Al li ance and the Pol i tics of the Street. Lec ture held in Ven ice, 7
Sep tem ber 2011, in the frame work of the se ries The State of Things, or gan ised by the Of fice for
Con tem po rary Art Nor way (OCA). http://www.eipcp.net/transversal/1011/but ler/en
de Certeau, M. (1984). The Prac tice of Ev ery day Life, trans la tion by Ste ven Rendall.
Berke ley: Uni ver sity of Cal i for nia Press.
Dec la ra tion of Prin ci ples. The In ter na tional Thea tre of the Op pressed Or gani sa tion.
www.theatreoftheoppressed.org/en/in dex.php?nodeID=23
Debord, G. (1994). The So ci ety of the Spec ta cle, trans la tion by Don ald Nichol son-Smith.
New York: Zone Books.
Denzin, N. (1970) The Re search Act in So ci ol ogy. Lon don: Butterworth.
Derrida, J. (1967). La voix et le phenomene: In tro duc tion au probleme du signe dans la
phenomenologie de Husserl. Paris: Presses Universitaires de France.
http://www.bim-bad.ru/docs/derrida_voix_et_phyonomyoyone.pdf
Gadamer, H.-G. (1989). Truth and Method, 2nd edi tion. Lon don: Sheed and Ward.
Goffman, E. (1959). The Pre sen ta tion of Self in Ev ery day Life. New York: An chor Books.
Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3 169
Toward Post-Qualitative Research: Social Theatre on Maidan
Habermas, J. (1979). Com mu ni ca tion and the Evo lu tion of So ci ety. Trans lated and in tro -
duced by T. Mc Car thy. Boston: Bea con Press.
Haseman, B. (2006) A Man i festo for Performative Re search. Me dia In ter na tional Aus tra -
lia, In cor po rat ing Cul ture and Pol icy, theme is sue “Prac tice-led Re search”, 118: 96–106.
Joker Tsu nami in Ukraine. (2015). Thea tre for Di a logue. http://tdd.org.ua/en/node/132
Kostenko, N. (2015). Be long ing to a Cer tain Cul ture in the State of “Emer gency”. In
Ukrai nian So ci ety: Mon i tor ing of So cial Changes, 2 (16), 390–405 (in Ukrai nian).
Naumova, M. (2015). Euromaidan Val ues: The Pro jec tion of a Pos si ble So ci ety. In Vari -
abil ity of Cul ture: So cio log i cal Pro jec tions (Ed. by. N. Kostenko). Kyiv: In sti tute of So ci ol ogy,
Na tional Acad emy of Sci ences of Ukraine, 314–341 (in Ukrai nian).
Potapova, O. (2015). Fo rum Thea tre in Konstantinovka: A New Look at the Home town (in
Rus sian). No vem ber 24, 2015.
http://tdd.org.ua/ru/fo rum-teatr-v-konstantinovke-glyanut-na-rodnoy-gorod-po-novomu
Rosenstock-Huessy, E. (1970). Speech and Re al ity. In tro duc tion by Clinton C. Gardner.
Norwich, Ver mont: Argo Books, Inc.
Schwartz, S. H. (2006). A The ory of Cul tural Value Ori en ta tions: Ex pli ca tion and Ap pli -
ca tions. Com par a tive So ci ol ogy, 5 (2–3), 137–182.
Silverman, D. (1993). In ter pret ing Qual i ta tive Data. Meth ods for Ana lys ing Talk, Text
and In ter ac tion. Lon don: SAGE Pub li ca tions.
Sommerfeldt, S.C., Caine,V. & Molzahn, A. (2014). Con sid er ing Performativity as Me -
tho dology and Phe nom ena. Fo rum: Qual i ta tive So cial Re search / Sozialforschung, 15 (2), Art.
11 — May 2014,
http://www.qual i ta tive-re search.net/in dex.php/fqs/ar ti cle/view/2108/3670
St. Pi erre, E.A. (2011). Post-Qual i ta tive Re search. The Cri tique and the Com ing Af ter. In
Nor man Denzin & Yvonna Lin coln (Eds.), The SAGE Hand book of Qual i ta tive Re search (4th
edi tion, pp. 611–635). Thou sand Oaks, CA: SAGE Pub li ca tions.
Thea tre for Di a logue (2015) (in Ukrai nian), http://tdd.org.ua/
Tiahlo K. (2015). “Thea tre of the Op pressed”: From a So ci ol ogy of Anal y sis to a So ci ol ogy
of “Di rect Ac tion”. SVOYE. Ukrai nian So cio log i cal Jour nal, 1 (11), 22–29 (in Ukrai nian).
Win throp-Young, G. (2013). Cul tural Tech niques: Pre lim i nary Re marks. The ory, Cul ture
& So ci ety, 30 (6), 3–19.
Žižek, S. (2010). A Per ma nent Eco nomic Emer gency. New Left Re view, 64, July — Au gust,
85–95.
170 Со ци о ло гия: те о рия, ме то ды, мар ке тинг, 2016, 3
Natalia Kostenko, Kateryna Tiahlo
|